“My Fair Lady” ”“ that show with the marvelous tunes by Alan Jay Lerner and Frederick Lowe ”“ opened at the Arundel Playhouse on July 15. Based on the novel by Bernard Shaw, the show chronicles the transformation of Eliza Doolittle from a young woman born into poverty into one who could pass for a duchess, simply by learning to speak ”“ and look and dress ”“ like one born into privilege.

The agent of this change is “professor” Henry Higgins, an upper-class Englishman who is an authority on speech. A chance meeting with Col. Pickering leads to a bet that he could transform Eliza within six months to pass for a duchess. He succeeds, but in the process, it is Eliza who becomes a princess in ways that Higgins could not foresee. He realizes at the end that he cannot do without her.

The production I attended had numerous high points and a few drawbacks where I did not anticipate them. On the plus side, I must commend Brian Swasey for his roles as director as well as choreographer. There was never a dull moment on the stage visually, and the production numbers, especially for “Get Me To The Church On Time,” were outstanding. The Ascot Scene with the slow, coordinated movements of 16 people watching a race was really done well. The brilliant costumes for the show, designed by Emma Ford, added to creating the timeframe ”“ 1920s ”“ of the show. One detail though that may have escaped notice: The top hat on one of the men was obviously three sizes too large for his head in the Ascot scene.

The set, particularly the living room of Higgins, was sumptuous down to the early version of a victrola on the left side of the stage. One usually takes the appearance and removal of the properties of the set for granted, but this was handled so smoothly, and quickly, that I must congratulate stage manager Emily Hankins for this magic.

With regard to the performers, roses should go to Nic Casuala, who played the part of Eliza’s father. He literally lit up the stage and charmed the audience with his singing and dancing in “With A Little Bit Of Luck,” and especially with the blockbuster “Get Me To The Church On Time.” Next, kudos go to Kate Turner who plays the part of Higgins’ mother. Her bearing and diction were all that one could ask for. Brian DiRito as Col. Pickering was convincing in his part, although even with gray at the temples did not look much older than Higgins, and that said, he had a better singing voice and his diction ”“ even with an accent ”“ was still well understood. Roger Reed as Eliza’s suitor Freddy looked the part and had a serviceable tenor. He charmed the audience with his singing of “On The Street Where You Live.” Aili Venho did a commendable job as the housekeeper, but visually did not fit the stereotype.

The singing of the ensemble, particular of the men in the reprise of “Wouldn’t It Be Loverly” was excellent and another highlight of the show. I found the piano playing of Raymond Bailey at turns excellent and at other times wanting. Inexplicable, for someone with his experience, was the hectic speed during not only “With A Little Bit of Luck” but especially in “I Could Have Danced All Night.”

Chrissy Albanese, who played Eliza, could not find more than a nano second to catch a breath and could barely sing the last three notes of the song. Her best singing occurred early in the show in “Wouldn’t It Be Loverly” and she was most convincing dramatically when she gave Higgins “what for” after the ball.

Michael Sheehan, who played Henry Higgins, did not compare favorably to Rex Harrison. His delivery was often too hurried, his lines often obscured and lost between his accent and speed. His best moments occurred in “Why Can’t A Woman Be More Like A Man (A Hymn to Him),” and especially in “I’ve Grown Accustomed To Her Face.”

These blemishes notwithstanding, the show was a joy to see, and hearing those memorable tunes sung so well, the overall quality of the show made for a most enjoyable theatrical experience. The show continues through Aug. 2.

For tickets, call 985-5552.

— Dr. Gold is a composer/conductor and an arts reviewer for the Journal Tribune.